ABDUCTION OF OUR MINDS – HEARING THROUGH THE GRAND AUDIO DECEPTION

This post is a contribution from another reader, who wishes to remain anonymous. It relates to the phenomenon of sound and our perception of sound and music. Enjoy!

Hi music lovers of Earth. This is done to wake up your ears and minds to a more wholesome perception and to create some awareness when it comes to consuming musical produce, which most of us do on a daily basis, often without even questioning what enters the ear and what it can do to your mind if you let it.

Ok, let’s try to give this beast some structure here. My intent is to have maybe three parts altogether, the first part dealing with the basics of sound and human perception of it.

The second part will be about audio recording/reproduction in general and the tweaks made to confine your sense of listening to 2D instead of 4D. (Yep, you heard that wrong 🙂 ).

The third part will be dealing with the musical content itself and the tweaks done to major releases to keep your mind confused, longing for more demonic entities to feast upon your sonically induced fears and negative emotions, shrinking your soul. Hard to stomach at first but that’s what has apparently been going on for many decades. (It’s debatable how far back the intentional conjunction of musical performance and negative ritual goes and if it persists in the same form today. I won’t go into that, at least not in this series, but I am always open to discuss these matters)

I want to make myself clear that during my professional rather small scale “career” in the audio/event business I never directly came in contact with record labels, industry audio facilities such as major label recording/mastering studios and the likes, which in retrospect I don’t regret a tiny bit. My job was more about setting up the different venues for events like concerts, expos, business meetings etc. I have experience in recording and mixing audio. I did come in contact with a major amount of music produce over the decades, be it in the form of canned music (CD,LP,MC,MP3) or in the form of live concerts, mainly of the harder rock/metal kind. And I will talk a bit about the ritual magic that often gets involved in both cases to literally get you spellbound.

I think it would be good for starters to talk about some basic principles of audio reproduction to be able to understand the compromises that have in some instances been intentionally implemented in today’s audio technology to prevent a recording to be played back in a natural way.

Music to me is the force of creation. Everything consists of waves, sound as well as the electromagnetic spectrum. You and everyone and everything around you is vibrating energy. Separation is merely a difference in frequency and resonance, from the atom all the way up to sentient living beings and the universe itself. (To get a good understanding that waves give matter a specific form depending on the frequency/resonance used, please watch a “Chladny Plate” in action on the net, here.)

The sense of hearing is the most primordial human sense there is. A human fetus begins to sonically perceive his/her surroundings 160 days into pregnancy. So there is already interaction going on then. The child can hear the mother and even music that is played back in the same room will get picked up and sometimes be accompanied by movement. (My daughter would get moving regularly inside my girl’s womb when we played music during “our” pregnancy. I just want to mention, that I think excessive ultrasonic healthcare during pregnancy should be considered a crime, that just as a side dish.)

So we have that sense of hearing right from the very beginning. Is it really that surprising then, that the forces who have been controlling humanity for millennia, go to an extreme length keeping that sense under wraps?

Ok, so let’s look to the Greeks for a minute, especially their sonic masterpieces called amphitheaters. The voice of a single speaker standing in this auditorium would be loud enough to reach the highest seats and be perceived by the audience with almost no loss. This was achieved by the shape of the structure obviously, the seat ranks compensating for the loss of sound pressure as the speakers voice travels farther, allowing for a much greater audience than on flat ground. Another thing is the rounded shape of an auditorium, which contributes to the fact that there is virtually no reverb audible (some say hall, which is the same). If the speaker claps his hands the sound is immediately thrown back at him without any sound artifacts that would be caused by a not properly rounded structure. Next to wall corners or in closed rooms this can be a huge problem that has to be accounted for electronically to ensure proper perception for everyone.

I think what we can take away with us from the Greeks, is that they had a proper understanding of handling sound waves in a natural manner. The sound from the stage was perceived equally well by the whole audience, clearly coming from this center stage. No problem, since the place is built around the stage and a single sound always distributes in a radial wave. That’s the most basic principle of sound and this is engraved in our psychoacoustic perception from the very beginning. Perceiving a sound as coming from a single point source, the mind always trying to locate that one source, completely natural thing. It gets interesting when more than two sound sources occur next to each other. If two identical sounds are played back over one loudspeaker at the exact same time (within 30milliseconds), the audible result would be one considerably louder sound (3dB) compared to a single sound, as these two identical sound waves resonate with one another and amplify themselves resulting in a higher amplitude/volume. If you play these two identical sounds more than 30 milliseconds apart they will be perceived as two identical sounds played in a row, no more amplification or perception as one sound. That is to show how delicate our ears and our perception in general really is. Another psychoacoustic feature that is built into every one of us is the natural ability to assign various random sounds to different groups. Say you are out swimming at the lake on a sunny day preferably. You lie down on your towel, eyes closed and you happen to listen to a group of people nearby talking. You might not understand everything but your mind gives you a pretty good picture of how many people are talking for instance. You can separate the boys from the girls because of the pitch, you can even separate the boys and girls from one another. There is a dog present, someone clicks with a glass bottle. The mind quantifies what your ears just presented to it and assigns what I would call subgroups to the sounds perceived, assigning a certain class or bandwidth of perceived sound events to one individual source and so on. This is how powerful our minds are and I am fascinated by that every time I talk about these things. So to conclude this psychoacoustic section I summarize.

A single sound always has a single source. Our mind always wants to resolve the question, where that perceived sound is originating from.

Keep that in mind for the next part where I will explain in necessary detail, why the way you set up your speakers in a closed triangle (speakers tilted towards the listener) is completely against the laws of perception plus more exciting stuff. If you are using two speakers at all these days. If you use more than that you are sonically lost in a 2D listening flat plane. I don’t even have a real stereo at the moment. 🙂

Like this:

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This is interesting stuff, and the premise seems promising. But I’m taking issue with a few fundamental flaws in the author’s logic.

“The second part will be about audio recording/reproduction in general and the tweaks made to confine your sense of listening to 2D instead of 4D.”

There is no “4D”. There are only three cardinal dimensions, and time is not one of them. Either the author has never read Mathis or has no interest in physical reality, which is fine, but the “4D” part can be discarded here with (hopefully) no effect on the premise.

“Everything consists of waves, sound as well as the electromagnetic spectrum. You and everyone and everything around you is vibrating energy. Separation is merely a difference in frequency and resonance, from the atom all the way up to sentient living beings and the universe itself. ”

This is also false. Waves are a motion, not a physical object. Sound travels in waves, yes. But it is particles vibrating and “waving”, not the waves themselves. The entire E/M spectrum is also particles (photons), not waves. The photon has an intrinsic wavelength due to its multiple stacked spins, but again it is a particle, not a wave. The particle is the thing. The waving is the motion of the thing. An ocean wave, for another example, is a motion of water molecules, not the thing itself. The molecules are shaped by their motion, which we perceive as a wave.

These inconsistencies lend some damage to credence here, but I’ll try to keep an open mind for the rest of the series.

Jared, you should try to point out possible mistakes in a more elegant manner. I agree with the basic assumptions made by Mathis regarding 4D and particles vs waves, but very few people are aware of Mathis (I believe you assumed that the guest writer is aware of Mathis because Vexman is knowledgeable about Mathis’ theories).

Hi Jared,
first off thanks for the input, which is always appreciated. I totally agree with you that waves can only occur inside a medium which gets excited by an impulse. The comparison with the E/M field was only to show that the wavy nature of creation does not only apply to sound waves and air, that was the whole intent. 🙂 I hope I could clear that up here, as any further differentiation will not be necessary for my piece. Elemental physics is something I didn’t spend major time with so please excuse that “mistake”. I know the difference between cause and effect if that was the concern.
As for the 4D part, my reference to that is not without thought as we will be confronted with recording more than three dimensions in the next piece. I am however not referring to it as time, but as the quantum plane of mind/soul, which under certain circumstances can be recorded. If you approach that plane with scientific logic only, you will arrive at calling it time and that’s it. Which is correct but only from this point of view.
If you approach that plane from a view point of human perception things change, as upon conscious contact/connection with that plane it no longer is perceived as time but as a plane of higher self consciousness. As esoteric and probably unacceptable this may sound to you at first I can tell you that you are not a scientific calculator but a sentient human being. I will go into that in the next part and hopefully be able to convince you that this plane has way much more to offer than you might be able to believe at this point.
Thank you for your post. 🙂

I have nothing to say regarding esoteric “planes” or dimensions that aren’t real, but will read your posts with a grain of salt, or a dash. Meanwhile, please give Mathis’s paper on Time a quick read. It will be tremendously helpful for you, going forward, and it’s not heavy on math or concepts. Straightforward physics, explained.

“I maintain that time is simply a measurement of movement. This is its most direct definition. Whenever we measure time, we measure movement. We cannot measure time without measuring movement. The concept of time is dependent upon the concept of movement. Without movement, there is no time. Every clock measures movement: the vibration of a cesium atom, the swing of pendulum, the movement of a second hand.

In this way time can be thought of as a distance measurement. When we measure distance, we measure movement. We measure the change in position. When we measure time, we measure the same thing, but give it another name. Why would we do this? Why give two names and two concepts to the same thing? Distance and Time. I say, in order to compare one to the other. Time is just a second, comparative, measurement of distance.”

Time is not a nebulous concept, to be assigned to whatever we wish. It is not a dimension. There are only three dimensions in real space, anything else is just science fiction.

I think you’re holding on really tight on the definition of what we perceive as our reality, Jared. You’re right, most probably, there are no more physical dimensions then those 3. The holy trinity. But then there is another plane, which in my opinion defies direct measurements and belongs to the realm of “invisible” or esoteric, like for instance intuition, psychic abilities, remembering details from past lives impossible to have read/learned about, etc… I as well think there is much more to the power of sound than what we can describe with our classic 3D physical plane, but I’ll leave that part of my comment out for now and let D explain himself in great detail in his 2nd installment. It’s always good to have a few grains of salt in your pocket though 🙂

According to Vitruvius, the ancient Romans and Greeks also used acoustic jars https://en.wikipedia.org/wiki/Acoustic_jar . The wikipedia page contains a few interesting reference sources if you want additional info about these acoustic jars. The only acoustic jars that survived to modern times are the ones found in medieval churches and they seem to be different from the ones described by Vitruvius.
Maybe I am wrong but I believe you are referring to the ancient theaters, not the amphitheaters. The amphitheaters were used for gladiator fights, animal slaying and even for reenacting naval battles (Naumachia). The theater with the best acoustics seems to be the theater of Epidaurus https://en.wikipedia.org/wiki/Ancient_Theatre_of_Epidaurus.

I wasn’t aware about any acoustic jars, thanks for that link and story.

I thought about the same issue while using the word “amphitheater”, but it turns that a google search for images of amphitheater returns a mix of both theaters and amphitheaters, as for instance this:
which is tagged as an outdoor amphitheater, from here . .